In the late 1960s, a young generation of Brazilian musicians began making albums that were more expansive and progressive than anything before.
They were inspired by the protean roots of samba, the silky vibe of the bossa nova, and the jangly wave of Brazilian pop-rock known as jovem guarda. But the new music also delved into reggae and psychedelia; funk, fusion, and the avant-garde. Not coincidentally, at a time when Brazil was under the grip of a brutal military dictatorship, these young artists yearned to be free from stylistic restraints and genre expectations. Many were censored and persecuted, a few exiled themselves in Europe. But the music that they made fueled the need for a new name, and this became MPB, the acronym for the all-encompassing música popular brasileira.
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In terms of mainstream Anglo music, MPB is synonymous with rock—as long as your idea of rock is catholic enough to include the Zombies and the Beach Boys, Joni Mitchell and Neil Young. Mirroring the developments in England and the U.S., MPB exploded in the ‘70s, expanded its sonic palette even further in the ‘80s, and continues marching forward into an ever-widening future. Most of the genre’s masters are with us, and still making records. Known for its sophisticated arrangements, gorgeous harmonic content and poetic lyrics, it is one of the most dazzling genres in the history of popular music.
Here are 10 albums to get you started on a pilgrimage down the MPB rabbit hole.
Chico Buarque – Construção (1971)
Between 1966 and 1968, the first three self-titled albums by singer-songwriter Chico Buarque built a bridge between bossa nova and the earthier, samba-fueled ethos of MPB. After a year and a half in Italy, Buarque returned to Brazil and recorded this epic masterpiece sprinkled with subtle allusions to the dictatorship’s oppression of the individual. Construção is lyrical and tragic, the work of a disillusioned songwriter who found redemption in the beauty of sound. With its grandiloquent brass accents and warm samba beat, the title track is especially poignant.
Novos Baianos – Acabou Chorare (1972)
The second album by Salvador, Bahia hippie collective Novos Baianos, Acabou Chorare is considered by many to be the greatest Brazilian record of all time, and it’s easy to see why. If the masterworks of Jobim, Veloso, and Nascimento were seeped in an undulating wave of nostalgia, the Baianos reacted to the difficult days ahead with an outburst of samba joy and gutsy rock ’n’ roll. Listen to the opening strains of “Brasil Pandeiro”—with the translucent vocals of resident diva Baby Consuelo—and smile to your heart’s content as the tune explodes into healing samba at the 1:28 mark.
Gilberto Gil – Expresso 2222 (1972)
As a kid in his native Bahia, Gilberto Gil played the accordion until the bossa classic “Chega de Saudade” inspired him to pick up the guitar and switch styles. According to Chris McGowan and Ricardo Pessanha’s 2008 book, The Brazilian Sound, Gil was jailed in 1969 without any official charges being brought on him—and when released he moved to England, living there “in a self-imposed exile” until 1972. By the time he returned to Brazil and recorded Expresso 2222, his restless style—a fireball of rock and reggae, samba and folk—was in full bloom. His natural exuberance as a singer and guitarist gained complexity thanks to an experimental vein that touches even the most approachable hits, like his joyous rendition of the 1950s classic “Chiclete com Banana.”
Erasmo Carlos – Sonhos E Memórias – 1941/1972 (1972)
The songwriting partner of record-breaking romantic crooner Roberto Carlos (no relation), Erasmo Carlos began his career as a Brazilian rocker with a weakness for psychedelia and funk. He became increasingly esoteric during the ‘70s—the melodies oblique, the lyrics existential—and adopted MPB through the hazy prism of South American rock. Seeped in nostalgia and contemplation, Sonhos E Memórias (“Dreams and memories”) is an album of almost unimaginable beauty—and the wistful “Meu Mar,” one of the most awe-inspiring songs that Brazil has given us.
Gal Costa – India (1973)
The quintessential Brazilian diva, the late Gal Costa (1945-2022) was also a protagonist of the short-lived tropicália movement of the late ‘60s—a foundational pillar of MPB. It took her only a couple of years to leave psychedelia behind and become a true pop star by cultivating a songbook of staggering breadth. Infamous for its “provocative” cover—censored by the Brazilian government, of course—India mixes contemporary songs by fellow MPB master Caetano Veloso with crystalline readings of old Brazilian nuggets. The otherworldly beauty of her voice shines through.
Jorge Ben – A Tábua de Esmeralda (1974)
In 1963, Jorge Ben made it big with “Mas que Nada,” a light-as-a-feather bossa that became a global hit when Sergio Mendes covered it. A decade later, Ben had left the bossa velvet behind and transformed himself into an MPB alchemist, floating on a hypnotic groove of samba and orchestral rock. The basic blocks of this album—the maestro’s supple voice, his expert guitar playing, the evocative lyrics—build up a dreamy experience that soars from beginning to end. The art-rock arrangement of “Magnólia” sums up the insane level of inspiration that permeated the MPB zeitgeist.
Maria Bethânia – Álibi (1978)
There is a slightly surreal tint to the career of Maria Bethânia—one of Brazil’s most beloved and exquisite singers. She is the sister of Caetano Veloso, but gained notoriety before her equally famous brother, and initially chose to stay out of the spotlight, catering to a niche audience. This changed with the release of Álibi, a masterful mosaic of accessible romantic tunes—and the first Brazilian album by a female artist to sell over a million copies. Every moment here glows with the sacred flame of Bethânia’s voice, and her duet with Gal Costa on “Sonho Meu” will probably move you to tears.
Caetano Veloso – Cores, Nomes (1982)
The ultimate ambassador of MPB’s wide aesthetic avenues, singer-songwriter Caetano Veloso began his career immersed in tropicália counterculture, and he found great success in the ‘90s mining the chestnuts of the Latin American songbook. His delicate voice can conjure up a spell with an acoustic guitar, or fly miles high in lushly orchestrated, avant-rock setups. This lovely session finds him on the cusp of his quintessential MPB phase, softening up the blow of a failed romance with the jazz-funk accents of “Queixa,” then diving into innocence with the Garden-of-Eden chant of “Um canto de afoxé para o Bloco do Ilê.” A complex troubadour, Veloso favors tenderness over any other emotion.
Djavan – Luz (1982)
Djavan’s debut came out in 1976, and by the time he became a megastar in the 1980s, his brand of MPB had become so funky and cosmopolitan, it veered dangerously close to smooth jazz. Produced by American keyboardist Ronnie Foster and boasting a Stevie Wonder feature on opening cut “Samurai,” Luz is the state-of-the-art blockbuster that made him an international sensation. It’s all a bit precious, but Djavan’s songwriting is vulnerable and complex.
Marisa Monte – Infinito Particular (2006)
It was only natural that a new generation of artists would fall in love with the innovations of MPB—and run with them far into the unknown. Born in Rio in 1967—when tropicália was in full bloom—Marisa Monte is the current ambassador of post-MPB bliss. If Tribalistas, the supergroup she founded with fellow travelers Arnaldo Antunes and Carlinhos Brown, made universal pop that flowed like a river to the ocean, her solo work is defined by an introspective sheen, astute collaborations, and massive hooks. Onstage, she looks and sounds like an empress. One listen to the bewitching “Vilarejo” should be enough to ignite an unhealthy obsession with her work.
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